13954413145آغازی بر فهم مزارع مسکون تاریخی در یزدAn Inception on the Perception of the Inhabiting Farmsteads in Yazd11یزد، دارای پیشینه غنی در آداب و علوم فلاحت و زراعت است. آب و امنیت در کنار زمین، به عنوان مادر زراعت، توانسته‌است مولد ساختاری در این اقلیم، به نام مزرعه باشد. مزارع، مجتمع‌های زیستی کوچکی هستند که به‌صورت مستقل یا تابعه، بخشی از ضیعات یک ده و یا قصبه، محسوب می‌شود.
برخی از مزارع، صرفاّ دارای تولیدات کشاورزی بوده و فاقد لواحق و استقرار هستند و به این دلیل، مزرعه کشاورزی یا غیرمسکون نامیده می‌شوند. در این‌گونه از مزارع، سکونت دائم و استقرار وجود ندارد. &laquo;باغ‌ها و کشت خوان‌های یزد&raquo;، در زمره &laquo;مزارع کشاورزی&raquo; قرار می‌گیرند؛ اما برخی دیگر، علاوه بر کشاورزی و زراعت به عنوان شاخصه اصلی، سکونت و استقرار نیز در آن‌ها انجام می‌شود، این‌گونه از مزارع، &laquo;مسکون&raquo; نامیده می‌شوند و دارای عناصر خدماتی دیگری چون کوشک، خانه‌های اربابی و رعیتی، قلعه‌‌‌های کبیره و صغیره مسکونی، برج‌های دیدبانی، طاحونه و مصنعه، شاه‌کوچه و غیره هستند. در این پژوهش، &laquo;قلعه‌ها و مجموعه‌های کشت‌خوانی اربابی و رعیتی&raquo; به عنوان مزرعه مسکون در یزد، شناخته‌شده‌اند و در ادبیات شفاهی و آثار مکتوب مربوط به یزد، به‌کرات درباره &laquo;مزرعه&raquo; بودن این آثار، مطالبی آورده شده است. این مزارع، در طول مسیر مکانی تحقیق (استان یزد)، در سال 1394 ه.ش شناسایی شده و مورد مطالعات میدانی قرار گرفتند و بسیاری از آن‌ها، به دلایل مختلف، در معرض آسیب و نابودی قرار دارند.
چیستی مزارع مسکون تاریخی در یزد، از سئوالات کلیدی در این نوشتار به حساب می‌آید و سعی می شود تا با رهیافت تفسیری - تاریخی و مراجعه به آثار مادی، سندپژوهی و مصاحبه به هدف اصلی این پژوهش، که تمییز مزارع مسکون تاریخی یزد، از سایر گونه‌ها و مجتمع های زیستی است، جامعه عمل پوشانده شود.
از نتایج قابل اشاره؛ فهم موضوع، از طریق پیمایش میدانی و تفسیر اسناد، با توجه به کنوانسیون‌های بین‌المللی است. این مهم می‌تواند در دانشگاه‌ها و مراکز پژوهشی، مورد بحث و مکاشفه قرارگیرد.
2Yazd has an outstanding history of principle and science of agriculture and farming. Water and safety along the ground as the mother of agriculture can be setting up the farmstead on the land. The farmsteads are subordinate or independent inhabitant complex, and they are part of a village or a borough. Inhabited farm as a section that has affected and influenced by social, political and cultural factors in different periods of time, is a living collection with different size and population. Information in multiple sources indicates that the inhabited farms existed in the borough and rural districts since pre-Islamic era to early Islamic period and to the Pahlavi&rsquo;s dynasty, the farms are identified with titles such as Dastkart, Keshtkhāni castles and complex, farmstead. The government assigned the farms as gifts, fief, Iqta&rsquo; (tax farming) and Sivergual (tax farming)
During the research process, many farms in Yazd, Maybod, Mehriz, Taft, Dehshir, Abarqo, Dehnow, Deh Sheikh, Shams Abad, Taraz Abad, Shah Abad, Deh Youk, Khoshk Abad, Khormiz, Ezzat Abad, and Mazraeh Kalantar&hellip;were chosen for field studies. Many of these farms are unknown to the public and academic communities, and there are no resources and independent research which include historical backgrounds of inhabited farms. Written and verbal documents show that inhabited independent and subsidiary (minor and major) farms were in the villages of Yazd. The majority of the formation of the administration, economic and political of Yazd until the Pahlavi era with widespread of Waqf (devotion) system, depended on farms and their products to stabilize things and make the interests. And sometimes provided to farm and develop a set of endowments in a region.
&nbsp;Some of these farms have none construction and only used for producing agricultural products, therefore these farmsteads are uninhabited farms or agricultural farms. No settlement and permanent residence are in these sorts of farms. Yazd's &ldquo;Qal&eacute; Bāq (garden castle) and Keshtkhān (tillage)&rdquo; are in &ldquo;agricultural farm&rdquo; category. Besides the farming, the farm has settlement and residence. These farms are &ldquo;inhabitant&rdquo; and contain facilities and places such as a summerhouse, manor, hovel, major and minor residential castles, battlement, water-mill and reservoir, the main avenue. &ldquo;Yazd's hardship and rural Keshtkhāni (tillage) and castles&rdquo; are in this category and are remembered as &ldquo;instance/example of farm&rdquo; in verbal and written kinds of literature. There are mentions in books such as &ldquo;Jam&eacute; Mofidi, 1363&rdquo;, &ldquo;Jam&eacute; al-Kheirat 1962&rdquo;, &ldquo;Yadegar Haye Yazd (Yazd's memories) vol. 1-2, 1995&rdquo;, &ldquo;Tarikh Jadid Yazd (Yazd's new history) 1966&rdquo; &hellip; that refer to these fields and discuss them as &ldquo;farm&rdquo;.
With the revocation of manorial in the Qajar era, land reform and owners departure to the other countries and major cities, many of these farms losing their nature and forms and will be destroyed.
Nowadays, there are no understanding and conservation of the historic farms; the international community is paying attention to these farms, conventions, recommendations and international charters (Convention for the Protection of the World Cultural and Natural Heritage, 1972 and the Charter of Florence, 1981) emphasized the important of knowledge, understanding, introduction, registration and protection of the properties that based on the definitions are in the category of the cultural landscape. In addition, there are models of historical farms in other countries. These models can be helpful in understanding the inhabited farms.
The research is trying to examine the subject with the help of the history and historical geography in the artificial and architecture as a tangible heritage which should be protected. And to survey the affected and influenced fields in terms of subject, time and place of the study. So apart from the written documents mentioned in this article that is addressed the inhabited farms in Yazd from authors&rsquo; perspective, only oral and palpable documents in the farms can ease the research process. Understanding the historical farms are recognising a large part of the folk culture of ethnic groups. It has the trade systems, tribute and ransom, ownerships, leases and legal, judiciary and administrative system. In 2015 these farms being recognised and has been studying. Yazd, Maybod, Mehriz, Taft, Dehshir, Abarqo, Dehnow, Deh Sheikh, Shams Abad, Taraz Abad, Shah Abad, Deh Youk, Khoshk Abad, Khormiz, Ezzat Abad, Mazraeh Kalantar&hellip;. Many of these farms are vulnerable due to various causes.
Particular studies on written and verbal documents, evaluation, measuring, interpretation and explanation can lead us to the perception and explanation of the subject, and so to the approach of the conservation. This leading should be discussed and showed in universities and research institutions.
120اصغرمحمدمرادیAsgharMohammadMoradiاحمدصالحی‌کاخکیAhmadSalehi KakhkiحسینراعیHoseinRaiePercptionHistoric Inhabited FarnsteadsAgronomic Field Castles and ComplexesYazdفهممزارع مسکون تاریخیمجموعه‌ها و قلاع کشت خوانییزد## ##تعادل بخشی بین حقوق مالکانه و منافع عمومی در اقدامات نوسازانه شهری
(از تعارض منافع تا تعادل حقوق در قوانین سلب و تامین حقوق مالکانه)
Balancing between property right and public interests in urban regeneration measures
(from interests conflict to legal balance )
11طرح‌های توسعه شهری به عنوان نقطه عطف مطالعات حقوقی و مطالعات شهرسازی، از یک‌سو مبتنی بر قوانین و مقررات منتج از شرع مقدس اسلام و از سوی برپایه مبانی و مفاهیم شهرسازی، چگونگیِ برنامه‌ریزیِ توسعه شهرها را تعریف و تبیین می‌کند. رعایت حقوق مالکانه خصوصی افراد، اصلی خدشه‌ناپذیر در شرع اسلام است که در قانون اساسی نیز بر آن تأکید شده است و از طرفی اقدامات نوسازانه شهری به عنوان یکی از ضروری‌ترین طرح‌های توسعه شهری، از اصول و ضوابطی بهره می‌گیرد که منجر به ایجاد محدودیت در آزادی اِعمال حقوق مالکانه می‌شود؛ محدودیت‌هایی که از باب ضرورت زندگی شهرنشینی و تأمین منافع عمومی می‌باشد. ازاین‌رو تبیین نظم حاکم بر &laquo;حقوق مالکانه مشروع و منافع عمومی در جامعه&raquo; در اقدامات نوسازانه شهری، ضرورتی علمی و منطقی است که بازشناسی و واکاوی تقابل و تعامل این دو در نظام شهرسازی را می‌طلبد.
بازشناسی ابعاد ساختاری و محتوایی حقوق مالکانه و منافع عمومی در نظام شهرسازی کشور، نیازمند پاسخ به این پرسش است که &laquo;تعادل بخشی بین حقوق خصوصی (حقوق مالکانه) و حقوق عمومی (منافع عمومی) در بستر اقدامات نوسازانه شهری چگونه قابل تبیین است؟&raquo; به عبارت دیگر &laquo;حقوق مالکانه و منافع عمومی در طرح&shy;های نوسازانه شهری چگونه به هم پیوند می‌خورد؟&raquo; روش&shy;شناسی پژوهش مبتنی بر فرایندی است که قوانین تملک را در پرتو &laquo;استدلال منطقی&raquo; و برپایه مؤلفه‌های هفت&shy;گانه&shy;ی&laquo;قانون اساسی، قانون مدنی، مصالح و منافع عمومی، حقوق مالکانه، حقوق شهرسازی، عدالت و قابلیت اجرایی&raquo; مورد تحلیل قرار می‌دهد. در این تحلیل، ضعف‌ها و محدودیت‌های قوانین تملک از منظر حقوق مالکانه و منافع عمومی مورد بازشناسی قرار می‌گیرد. واکاوی و بازشناسی فرایند قانونی و اجرایی سلب و تأمین حقوق مالکانه ما را به الگو و رهیافتی نو در باب مطالعات حقوق شهری هدایت می‌کند. رهیافتی که با تأمین نیازهای متعدد و سازگاری منافع متنوع بین دو حوزه خصوصی و عمومی، تجلی آرمان&shy;های حقوق شهرسازی را منجر می‌شود. این رهیافت مبتنی بر &laquo;بازنگری محتوایی و عملکردی قوانین موضوعه با توجه به مبانی حقوقی مالکیت در اسلام، تدوین و تصویب قانون جامع سلب و تأمین حقوق مالکانه و بازنگری مستمر تعرفه‌های قیمت منطقه‌ای املاک با توجه به قیمت واقعی بازار توسط شهرداری‌ها&raquo; استوار است؛ یافته&shy;هایی که &laquo;تعارضات بین حقوق مالکانه و منافع عمومی در بستر اقدامات نوسازانه شهری را به تعاملاتی پایدار&raquo; سوق می‌دهد.
2Urban development plans define the process of planning for urban improvement based on both Islamic regulations and substantial principals of urbanism. The rights of private ownership are basically emphasized in Iranian constitution. Attempts of urban redevelopment plans are inherently in contrast with the private rights of ownership.&nbsp;
Rules and regulations governing the urban systems are considered as a common point of Legal Studies and Planning. On the other hand, urban system as one of key elements of the relationship between the state and the nation regulates the proportionality between people and public based on private low and public low.
In this sense explaining the precise view of private ownership and public interest in the process of planning for urban re-development is the necessity that needs the interaction of these two main aspects of urban studies.
In order to understand the structural and substantial aspects of public interest and private ownership is in parallel with the questioning about the balance between private and public rights in the urban planning process. The right to the city is in no conflict with other civil rights in its truss sense, but there are some constraints and weaknesses in the definition of the nature and explanation of this right on the one hand, and its interaction with other, which has some consequences for urban development plans and programs on public scale and in the contax of urban regeneration measures on particular scale.
This research applied the qualitative approach and the analytical-interpretative methods. The methodology is based on the process that analysis and interpret the regulations of acquisition under the logical strategy.
These regulations are measured regarding seven elements of &ldquo;constitution, civic laws, public interest, private ownership right, urban rights, justice and performance&rdquo;.There are 76 indicators derived from these 7 elements among them the most compatible, conflicting and ambiguous ones are selected. In this analysis the weaknesses and constraints of these regulations are explained.
This output guides the researchers to propose the new approach in studying the urban regulations which could meet the needs of multiple interests and could lead to compatibility of interests in public and private sphere which is one of the critical goals of urban planning systems
The indicators of ownership and public interest are the most compatible ones in the regulative contexts. Also, the indicators of regulative process, administrative systems and implementation costs, are the most ambiguous ones.
For the most important conflicts between the goals of the right to the city and process of &ldquo;Urban regeneration measures, we can refer to neglect to&rdquo; private property rights. Rights to private space is the right that gives meaning to the living of residents in city. But the right to the city may not only be achieved, but injustice also manifests itself more in urban spaces when measure for urban regeneration forbids residents from the right to space with an aim to realize the right to the city, let the property right the residents remain at the periphery.
The rights of ownership, social participation, public interests and private ownership right are the most conflicting ones which challenge the redevelopment actions in urban planning systems
The result of the research ends in the mechanisms analyzing the procedural and regulative aspects of acquisition regulation. The research aims to enrich the concept and position of the right to the city by probing into imam Ali highway project from two aspects, property right and the right to city and parallel with it, it aims to define property on the hand and balance the existing conflict between property right and the right to the city, thus the research has a qualitative nature and approach and mainly rests on a critical analysis, in that using logical argumentation it analysis and investigates the position of the two concepts&rdquo;the righto the city&rdquo; and &ldquo;property right&rdquo; in the process of urban regeneration measures, both in terms of a case study(imam Ali highway in Atabak and Minaee neighborhoods) and documentary studies.
To recognize the structure of public and private law in the urban system of the country it is necessary to answer the question &ldquo;what is the entity of the urban rules and regulations of country in the light of Islamic laws and regulations?&rdquo; the methodology of research based on the system interpretation of the urbanization of the country is in order of governing on the legal sources.
This analysis is qualitative and determined using Logical reasoning technique and documentary studies method. Analysis of the actors of the private and public spaces of cities on the one hand and the redefinition of the public and private rights in the legal order of country on the other hand, guides us to the new pattern and approach regarding the rights of urban studies. This approach, by providing multiple needs and Compatibility varied interests between the private and public spheres, leads to the manifestation of civil rights ideals.With the applicable proposals, the balance between public and private interests is facilitated and these findings could lead to the sustainable interaction between these two critical and conflicting aspects of urban redevelopment actions.
2140رضاخیرالدینRezakheyroddinغلامرضاکامیارGholamrezakamyarابراهیمدلایی میلانEbrahimDalaei Milanproperty rightpublic interestsregeneration measuresinterest's conflictconstantparity.حقوق مالکانه مشروعمنافع عمومیاقدامات نوسازانه شهریتعارضات حقوقیتعادل پایدار## ##گونه شناسی شکلی و استقراری شناشیر در معماری بومی بندر بوشهرTypology of the Form and Placement of Shanashir in Vernacular Architecture of Bushehr Port, Iran11یکی از ویژگی‌های منحصر به فرد معماری بومی بندر بوشهر، وجود عنصری به نام شناشیر است که ضمن تأمین محرمیت، الگوی معماری درون‌گرا-برون‌گرای بندر بوشهر را میسر ساخته است. این پژوهش به هدف گونه‌شناسی این عنصر از روش تحقیق کیفی و راهبرد نمونه موردی بهره برده است تا دریابد گونه‌های اصلی شناشیر در معماری بندر بوشهر از نظر شکلی و عملکردی کدامند؟ در این میان کدام گونه غالب است؟ و عوامل مؤثر در مکان‌یابی شناشیر چیست؟ به این منظور در ابتدا پیشینه تاریخی شناشیر به عنوان عنصری وارداتی و سپس کارکردها و اجزای اصلی شناشیر با استفاده از منابع کتابخانه&shy;ای مورد بررسی قرار گرفت. در نقشه طرح تفصیلی ویژه بافت قدیم بوشهر، 1013 بنا درون حصار تاریخی مشخص شده است. مبتنی بر این نقشه مطالعات میدانی آغاز شد و تک تک بناهای مشخص شده در این نقشه بازدید و عکسبرداری گردید. بر اساس مطالعات میدانی انجام شده، از 1013 بنا تعداد 565 بنا تخریب شده و بناهای جدید با پلان‌هایی متفاوت با پلان‌های تاریخی به جای آن‌ها ساخته شده است؛ همچنین، تعداد 86 بنا مخروبه بوده و قابل برداشت نبود. به این ترتیب تعداد 362 بنای تاریخی باقیمانده در مرحله دوم مورد بررسی دقیق‌تر قرار گرفت که از آن میان تعداد 29 بنا دارای شناشیر شناخته شد. نتایج تحقیقات میدانی در این مقاله نشان می‌دهد که مبتنی بر محل استقرار شناشیر در بنا دو گونه اصلی شناشیر بیرونی و شناشیر داخلی قابل تشخیص است که مبتنی بر میزان محصوریت به دو دسته نیمه‌باز و بسته تقسیم ‌می‌گردند. شناشیر بسته فقط در نمای بیرونی و آن هم به تعداد بسیار محدود به کار رفته است. شناشیر بیرونی بر اساس شکل به دو دسته اصلی خطی و دو جهته ( ال شکل) قابل تقسیم است که گونه دوم می‌تواند دارای زاویه نود درجه یا بیشتر یا تقاطع منحنی باشد. شناشیرهای داخلی نیز به چهار دسته اصلی قابل تقسیم هستند: یک جهته (خطی)، دو جهته ( ال شکل)، سه جهته (یو شکل)، و چهارجهته. مبتنی بر محل استقرار شناشیر در درون یا بیرون بنا تفاوت‌هایی در کارکردها و اجزای آن‌ها وجود دارد. دستاوردهای این مقاله نشان می‌دهد که گونه غالب شناشیر بیرونی از نوع نیمه‌باز یک جهته (خطی) و گونه غالب شناشیر داخلی احتمالاً سه‌جهته می‌باشد. از بررسی موقعیت مکانی شناشیرهای بیرونی این نتیجه حاصل می‌گردد که همجواری با ساحل دریا و یا یک گشایش فضایی در فضای شهری مانند میدان و میدانچه، نقش مهمی در محل استقرار شناشیر دارد.
2Islamic architecture in different territories has taken on various representations in harmony with natural and cultural contexts. Vernacular architecture of Bushehr Port is one the representations which encompasses features distinguished from those of other cities in the northern coastline of the Persian Gulf. Due to the special geographical position of this port and connection with other countries, one of the features is the existence of an element called &ldquo;Shanashir&quot; in the building facades, which has contributed to the interior-exterior architectural pattern of Bushehr Port, as well as privacy fulfilment.
Shanashir is generally known as a wooden element appended to the interior and exterior fa&ccedil;ade of the building. As a semi-open space, it provides a view from interior space to the exterior space of yard or urban space and is regarded as a modifying element of climatic conditions in hot and humid climate of Bushehr. This research used qualitative method and case study strategy with the aim of finding typology of this element, so as to find which types of Shanashir are important in the architecture of Bushehr Port in terms of form, what function this element serves, what types are predominant in this regard, what factors contribute in Shanashir placement, and what direction Shanashirs mostly have. In this regard, first the literature of the history of Shanashir was reviewed using library resources for data collection. Second, aiming at studying functions of Shanashir and its physical components, essential data were collected by reviewing library documents and field study. For field study, non-participatory observation was used so as to extract functions of this element by watching people&rsquo;s living manner in Shanashir-included houses and behavior of Shanashir users. Moreover, oral interview with the users contributed to the scrutiny of the functions. Photography, sketch, and note taking were other tools used in this phase. Third, in order to approach the typology of Shanashir, written and visual resources regarding Bushehr buildings that have Shanashir were scrutinized and data were classified, and then all Shanashir-included buildings located in the historical texture of Bushehr were visited and the required information for the research was classified.
The historical texture of Bushehr covers an area of 4.5 hectare, which encompasses four historic neighborhoods. To approach the typology, it was needed to study the texture. One of the research limitations at this point is destruction of some buildings in the east coast of the historical texture of Bushehr during Pahlavi era because of construction and development of the Bushehr Port Organization, and that of other buildings with the construction of the north-south Street passing through the texture. These two parts probably had remarkable Shanashir-included monuments particularly in the eastern part of the texture, as apart from a few famous monuments the remaining were destructed and there is no information but few pictures with indistinctive location. In addition to the large-scale destructions, a number of buildings were demolished due to the lack of attention and timely restoration, and there is little information on them. Moreover, some owners did not allow us to enter their buildings in order to visit the interior Shanashirs, and some monuments were demolished to such an extent that it was impossible to collect date about the existing situation of Shanashir. In the Comprehensive Plan of the Old Texture of Bushehr, 1013 buildings are specified within the historic barrier. Based on this map, field study was initiated and every single building specified in the map was visited and photographed. According to the field study, out of 1013 buildings a number of 565 buildings were demolished and new buildings with different plans were replaced with historical plans. Moreover, a number of 86 buildings were dilapidated and impossible to be seen. Thus, a number of 362 buildings remained in the second phase were investigated more precisely, among which a number of 29 buildings had Shanashir.
Analysis of available Shanshir showed that 48 percent of Shanashir-included buildings are located in Koti Neighborhood, 42 percent in Behbahani Neighborhood, 7 percent in Shanbandi Neighborhood, and 3 percent in Dehdashti Neighborhood. Furthermore, 45 percent of exterior Shanashirs were seen in monuments adjacent to the seashore, and 24 percent of the remaining were near square, 17 percent near the plaza, and 14 percent were located in within-texture passages. The results of the analyzing Shanashirs placement in buildings indicated that two major types of Shanashir namely interior and exterior Shanshir exist in Bushehr vernacular architecture, which are classified into semi-open and closed classes based on the level of closeness. Closed Shanshir were used in few numbers and only in exterior fa&ccedil;ade. Form typology of exterior Shanashir can be classified into two main classes; linear and bi-directional (L-shaped) Shanashir. The latter can entail 90 degree or more angle or curve intersection. Interior Shanashirs can be classified into four main classes; unidirectional (linear), bi-directional (L-shaped), three-directional (U-shaped) and four-directional. Based on the place of Shanashir, inside or outside of buildings, some differences exist in their functions and components. This research shows that the dominant type of exterior Shanashir is semi-open unidirectional (linear) type and the dominant type of interior Shanashir is probably three-directional type. By studying the location of exterior Shanashirs, it is concluded that adjacency to the seashore or having a spatial opening to urban spaces such as a square or a plaza play an important role in the place of Shanashir establishment.
4160اعظمهدایتAzamHedayatپرستوعشرتیParastooEshratiShanashirHistoric Port of BushehrVernacular ArchitectureIslamic ArchitectureIran.شناشیربندر تاریخی بوشهرمعماری بومیمعماری اسلامیایران## ##کارکرد اقلیمی هنرگره چینی درمعماری اسلامی- نمونه موردی: بناهای مسکونی قاجاری شیرازClimatic Function of Girih Art in Islamic Architecture- Case study: Residential building at Qajar era in Shiraz
11یکی از هنرهای با ارزش در معماری اسلامی ایران گره&shy;چینی بوده است که با اتکا بر هندسه&shy;ای بی همتا، زیبایی هنر ایرانی-اسلامی را به نمایش گذاشته است. خاصیت زایش&shy;پذیری این هنر با سبک کردن چوب به واسطه استفاده شیشه&shy;های رنگی ظریف و نقوش هندسی در طول تاریخ تکامل یافته است. با وجود مطالب گوناگون در حوزه زیبایی&shy;شناسی ظاهری و خواستگاه&shy;های غیرمادی و عرفانی گره&shy;چینی تاکنون به بخش&shy;های کارکردی و خصوصا اقلیمی آن کمتر پرداخته شده است. در مقاله پیش رو این فرضیه که گره چینی صرفا هنری تزئینی نبوده و در معماری اسلامی با پرهیز از بیهودگی در تعاملی کارکردی با نور روز قرار دارد و با رویکردی بوم آورد از مصالحی متناسب با اقلیم منطقه بهره برده است مطرح گردید، بنابراین پاسخ به این سوال که آیا گره چینی به کار رفته در ابنیه معماری اسلامی ایران در حوزه هایی با کارکرد اقلیمی قابل تعریف است؟ ضروری می نماید.
سوال قابل طرح دیگر این است که آیا معمار ایرانی در شناخت و بهره&shy;گیری از مصالح، استفاده از نور روز و تهویه طبیعی از گره چینی بهره&shy;مند شده است؟ برای پاسخ به سوالات فوق از راهبرد تحقیق کیفی استفاده شده و به لحاظ محتوایی با استدلال منطقی از طریق مطالعات کتابخانه&shy;ای نسبت به دسته&shy;بندی اطلاعات نظری اقدام گردیده است تا بتوان فاکتورهای موثر کارکردی مرتبط با گره&shy;ها را از ادبیات موضوع استخراج نمود و در گام بعدی با انتخاب نمونه اصلی هدف، که در برگیرنده خانه&shy;های مسکونی دوره قاجار بود به ارزیابی نمونه&shy;های موردی مبادرت ورزیده شده است تا با استفاده از روش نمونه گیری، فراوانی استفاده گره&shy;ها در نمونه&shy;های موردی و نوع کاربرد آن به دست آید.
یافته&shy;های تحقیق نشان از تفاوت معنی&shy;دار توزیع فراوانی گره&shy;ها در ضلع غربی نسبت به سایر جبهه ها دارد که در کنترل نور نامطلوب غرب موثر می&shy;باشد. عدم وجود گره&shy;ها در ضلع جنوبی به دلیل استفاده کامل از نور و تابش خورشید در این جبهه به دلیل استفاده فضاهای داخلی مستقر در این ضلع در فصل زمستان است. استفاده از مصالح بوم آورد یا متناسب با اقلیم منطقه در گره&shy;ها سبب کنترل حرارتی جداره&shy;ها و عدم تجمع بار حرارتی و گرمایشی در جبهه غربی شده است.
2One of the valuable arts in the Iranian Islamic architecture was Girih which has showcased the beauty of the Iranian art by relying on a unique and unprecedented geometry. The generative nature of such an art coupled with granting style to the woodworks through taking advantage of elegant colorful glass and the use of geometrical carvings has been perfected during the course of history.
Girih&nbsp;are lines (strap work) which decorate the tiles. The tiles are used to form Girih patterns, from the&nbsp;Persian&nbsp;word, meaning &quot;knot&quot;.&nbsp;In most cases, only the Girih (and other minor decorations like flowers) are visible rather than the boundaries of the tiles themselves. Girih are elaborate&nbsp;interlacing patterns&nbsp;formed of five standardized shapes. The style is used in&nbsp;Persian Islamic architecture&nbsp;and also in decorative woodwork, it could be applied either as lattice frames, left plain or inset with panels such as of colored glass; or as mosaic panels used to decorate walls and ceilings, whether sacred or secular. In architecture, Girih forms decorative interlaced strap work surfaces from the 15th&nbsp;century to the 20th&nbsp;century. Most designs are based on a partially hidden geometric grid which provides a regular array of points While there are various materials regarding the aesthetic aspects and the incorporeal and theosophical origin of such art as Girih but it seems that the climatic dimensions has been less dealt with. In the present study, there is proposed this presumption that the Girih is not merely an ornamental furnishing art and that it is in a functional interaction with day lighting meanwhile avoiding vanity and uselessness in its architecture and also that it takes advantage of masonry proportionate to the regional climate through its adoption of a vernacular approach. Thus, it looks necessary to find an answer to the question that &ldquo;whether the Girih used in the buildings constructed based on the Islamic architecture designs can be defined in fields with climatic functions?&rdquo;
Another question which can be set forth here is that &ldquo;whether the Iranian architect has been successful in taking advantage of Girih works in realizing and deploying masonries, and making use of the daylight and natural ventilation?&rdquo; To answer the mentioned questions, there is made use of the qualitative research strategies and the subjective information and data have been categorized in terms of the content they bear through exploiting rational reasoning via performing library studies in order to be able to extract the effective functional factors related to the Girih work from the background literature and then, in the next step, select the main target samples encompassing the residential homes from Qajar era (1-Forugh-Al molk, 2-Asadollah Shojaat Asad, 3-Akbar Javanmardi, 4-Parviz Amooee, 5-Jalal Sahebolamr, 6-Habibi Pishehvari, 7-Hossein Ali Tasmim Haghighi, 8-Dabagh Manesh, 9-Seyyed Mahmood Fateminejad, 10-Aliakbar Asgharzadeh).
In order to be able to evaluate and assess the case samples and finally the Girih application frequency in the case samples and the type of their application can be obtained through making use of various sampling methods.
Related to case studies and comparing them to documents wood and glass is the most useful materials in Girih structure.
After finding documents about quantity of Girih in each case study authors started to explore the Girih area into fa&ccedil;ade area which showcased by &ldquo;f&rdquo;. As authors mentioned &ldquo;f&rdquo; is made by dividing Girih area (Ag) multiplied by Girih numbers (Ng) in each fa&ccedil;ade side into window area (Aw) multiplied numbers of each window (Nw).
The study findings indicated that there exists a significant difference between the Girih frequency distribution rates along the western side in respect to the other fronts which concomitantly accompanied by the use of a pier&rsquo;s vertical parasol the same as a similar configuration in the modern climatic radiation protection system provide for the unfavorable western side light effective control.
The absence of the Girih along the southern side is due to the need for making complete use of the sun light and radiation in this front because the interior spaces situated along this side of the house were used during the winters. The use of the vernacular or the regional climate-compliant masonries in Girih provides for the walls&rsquo; thermal control and the non-accumulation of the thermal and heat load along the western side.
6172حمیدرضاشریفHamid RezaSharifامینحبیبیAminHabibiعبدالهجمال‌آبادیAbdolahJamalabadiIslamic architectureGirih artday lightinggeometry tilessun radiation directionمعماری‌اسلامیهنرگره‌چینینور روزنقوش هندسیجهت تابش## ##بازشناسی الگوها و شناخت فاکتورهای کالبدی تاثیرگذار در بافت مسکونی سنتی نیشابورRecognition of Typology and Effective Physical Factors in Traditional
Residential Tissue of Neyshabur
11با وجود پیدایش معماری مدرن و از بین رفتن هویت در ساخت و سازهای جدید٬ الگوشناسی یکی از موضوعات مهمی است که سعی در شناخت روش های کاربردی جهت دستیابی به عناصر و الگوهای هویت ساز بومی گذشته و استفاده از آنها در معماری امروز به شکل نوین دارد. بافت های مسکونی سنتی به عنوان هسته اولیه تشکیل دهنده شهرها و نیز عناصر و ابنیه معماری موجود در آنها بدون تردید میراثی ارزشمند جهت بررسی٬ تحلیل و ارائه الگوهای مناسب معماری بومی هستند. این پژوهش ابتدا با نگاهی توصیفی- تحلیلی مروری خواهد داشت بر مباحث کلیدی مطرح و مرتبط با زمینه الگوشناسی در معماری و طراحی شهری و سپس با توجه به مبانی نظری بدست آمده٬ فاکتورها کالبدی موثر بر الگوشناسی بافت و ابنیه سنتی مسکونی شناسایی می شود. در مرحله بعدی ضمن تشریح مفاهیم و شاخص های معماری بومی نیشابور از روش تحقیق میدانی جهت شناخت و بررسی کالبدی درباره نمونه ابنیه مورد مطالعه در بافت تاریخی بهره گرفته خواهد شد. بعد از این تحلیل به وسیله روش سلسله مراتبی٬ موثرترین فاکتورها کالبدی اولویت گذاری شده و نهایتا با توجه به نتایج بدست آمده٬ اصول معماری بومی و مقایسه ضوابط موجود٬ راهکارها و الگوهای طراحی مسکن جدید با هدف ارتقای ابعاد کیفی و کمی منازل مسکونی معرفی میگردند.
2&nbsp; &nbsp;Typology as a practical method has become to an important subject due to rise of modern architecture and lack of identity to achieve pattern of traditional architecture. Residential tissue as a core of traditional cities with its elements and specific form are valuable legacy for survey and analysis. This research refers to systematic method consisting analytical and descriptive method in fundamental issues linked to typology reviews, theoretical principles, and theories. In the process of research affective physical factors identified and based on field research 15 houses has been surveyed. Furthermore Analytic hierarchy process (AHP) was used to evaluate and comparing effective physical factor in the form of houses. Results of research were obtained to promote new housing design patterns and guideline. The criteria obtained from results also compared with present urban principles to improving the quality of houses design in traditional tissues of Neyshabur city.
7189سید امیرمیرسجادیSeyed amirmirsajadiهیروفرکیشHeroFarkischTypology٫ Traditional tissue٫ Residential patternsEffective Physical factorNeyshabur cityگونه شناسی معماری٬ ریخت شناسی شهری٬ بازشناسی بافت های سنتی٬ معماری مسکونی بومی.## ##تبیین جایگاه پیوست نگاری فرهنگی و بهره‌گیری از نظام مدیریت فرهنگی
در شهر اسلامی- ایرانی
(مبانی نظری و فرآیند فکری سازنده شهر اسلامی)
The Explanation of Culturl Engineering and Connection in Modeling Iranian- Islamic City
(Modeling the Technique of Designing Cultural-Residential City)
11گسست فرهنگی و تزریق مؤلفه‌های غیربومی به پیکره‌ی شهرهای اسلامی-ایرانی در دهه‌های اخیر به نبود راه مشخص، الگوی توسعه و پیشرفت باز می‌گردد. با پیروزی انقلاب اسلامی بازگشت به مبانی اسلامی، توجه به کرامات انسانی و اتکاء به فکر و ابتکار ایرانی بار دیگر مورد توجه قرار گرفته است. تدوین نقشه‌ی الگوی اسلامی ایرانی پیشرفت از سوی مقام معظم رهبری موجب شده حیات دینی و طراحی فرهنگ منسجم اسلامی دستور کار متخصصین در حوزه‌های مختلف از جمله شهرسازی قرار گیرد. در این راه آن‌چه اهمیت دارد، روش پیاده‌سازی نظام مدیریت فرهنگی نظام اسلامی متناسب با دستور زبان خاص آن حوزه و تدوین مدلی کارآمد در اجرای برنامه‌ها و سیاست‌های کلی نظام ارزشی حاکم است. به گونه‌ای که بتوان الگویی نظری و عملیاتی از شهر اسلامی&ndash; ایرانی متناسب با مهندسی فرهنگی اهداف انقلاب اسلامی ارائه نمود. این تحقیق از یک سو بنیادی(توسعه‌ی دانش و مبانی) و از سوی دیگر کاربردی(توسعه‌ی راهکارها و راه‌حل‌ها) است. در این تحقیق با روشی نظری و عملیاتی با رویکرد توصیفی، تحلیلی و کیفی و از روش استدلال منطقی بر پایه‌ی منابع کلام الهی و معصومین و استنباط عقلی به ارائه‌ی مدلی مفهومی و عملیاتی از مبانی سازنده‌ی شهر اسلامی، مدل اجرایی راهبرد فرهنگی با تبیین پیوست فرهنگی و مهندسی فرهنگی نظام حاکم در ساختار شهر اسلامی و ارائه‌ی الگوی پیشنهادی از شهر اسلامی با بستری فرهنگی و ارزشی پرداخته شده است. بر مبنای استدلال‌های صورت گرفته راهبرد سامانه&shy;های فرهنگی به عنوان مدل اجرایی راهبرد فرهنگی نظام اسلامی با دو اصل مهندسی فرهنگی و پیوست فرهنگی ارائه گردیده است. این مدل، برشی از مبانی سازنده‌ی شهر اسلامی در سطح راهبرد‌های فرهنگی با هویتی سیستمی و سامانه‌ای است که دو قطب درونی(اصول راهبردی) و بیرونی(نظام راهبردی) لایه‌ی فرهنگی شهر اسلامی را با ارائه‌ی راهکار مفهومی و کاربردی به سمت اهداف شکل‌گیری شهر اسلامی هدایت می‌نماید. در نهایت، بر مبنای بنیان‌های نظری و استدلال‌های مطرح شده ساختاری مرکزی از شهر نوین اسلامی با نظام شبکه‌ی فرهنگی از شهر اسلامی مدل‌سازی عملیاتی شده است.
2Cultural disconnection and non &ndash; local Factors injection to the stracture of Islamic &ndash; Iranian cities in the recent decades refer to the absence of open progress, development pattern and a determined route. After the Islamic revolution in Iran, returning to the Islamic basics, caring about human dignity and relying on Iranian innovation and thought have attracted attention once again. The necessity of forming Islamic cultural and civilized works, is the presence of a perfect Islamic thought in all elements of framework, architecture, urbanism and structures which organized an urban society; in a way that the differences of its framework and its used meaning be clear and touchable either in communication symbol or in literal symbol with the other civilizations. It also illustrates a perfect living different from religious nature in the city. Prerequisite of this issue is, crating a coherent Islamic culture so gradually the effects of this culture will be appeared in exterior and surface relations.
&nbsp;The determination of the plan of Iranian &ndash; Islamic development pattern by the supreme leader has made the religious life and the design of a unique Islamic culture tobe the agenda of the experts in various fields including city planning. in this end,the most important case is how to practice a Islamic culture management proportionate with that field as well as determining a practical model to practice the programs and the general policies of the dominant value stracture, in a way that to be able to provide a th eoretical as weii as operational pattern of the Iranian-Islamic city proportionate with the cultural engineering of the goals of the Islamic Revolution.This research is both fundamental(development of knowledge and basics) and practical(development of procedures and solutions). In this research,using a theoretical and operational technique along with a qualitative, descriptive and anaiytical approach and by a logical wyplanation based on the Qoran and the Innocent Imams Sayings as well as mental logic, an operational and contextual model of the practical basics of Islamic city is provided which a practical cultural approach explaning cultural connection and cultural engineering pattern dominant of Islamic citys structure and also the suggested pattern of Islamic city considering the cultural and value structure is being explancd. According to the explanations, the cultural-residential technique has been provided as the operational model of Islamic &ndash; cuitural approach relying on two basics of cultural engineering and cultural connection. This model is a cross &ndash; section of the practical basics of Islamic city in the level of cultural approaches whth a systemic identification which leads the two internal (approach basics)and external (approach structure) poles of the cultural layes of Islamic city to the formation of Islamic city through providing apractical and contextual solution.Finally, the operational modeling has been done based on the theoretical basics and the explanations provided by nthe centeral structure of the modern Islamic city with a the culyural &ndash; residential approach(cultural network structure) of the Islamic city.
Now the presenting model for creating a coherent religious culture is applying a cultural engineering structure and guideline with cultural connecting in different fields such as Islamic urbanism. In each field the style and method of creating cultural managing system should be appropriated with the specific language system of that field or model. In this study executive model of Islamic cultural system is determined with two basic roles; the cultural engineering and the cultural connecting in Islamic city.
In this study executive method of Islamic city&rsquo;s cultural action and works are the designing process or meaningful and contextual solutions and works in designing. Meaningful and contextual solutions are the basis and infrastructure for the next used solutions. The appropriate meaningful solutions with the issue of Islamic city element with its systematic nature will define the identificational and basic aspects ( political, social, cultural and economical) in the layers of cultural solutions and finally with offering useful and useable solution and works in Islamic culture will define the framed system of Islamic city.
7189حیدرجهان‌بخشHeydarJahanbakhshعلیدل‌زندهAlidelzendehIranian_ Islamic Citycultural connectioncultural engineeringcultural-residential modelcity planning processمبانی شهر اسلامی ایرانینظام مدیریت فرهنگیپیوست فرهنگیمهندسی فرهنگیفرآیند طراحی شهری## ##نمود کتیبه های معماری در نگاره های ایرانی
تحلیلی بر نمونه های مکتب هرات و آثار بهزاد
Appearance of architectural inscriptions in Persian Painting
Analysis of the samples of Harat School and works of Behzad
11نگارگری ایرانی صحنه هم سخنی هنرهایی چون نقاشی، شعر، خوشنویسی و معماری است که مسیر تکامل خود را در مکاتب مختلف دوره اسلامی، به ویژه از عصر ایلخانی تا اوایل صفوی پیموده است. پایه این نگارگری بر ذهنیت و دنیای غیرمشهود استوار است و عناصر تزیینی و معماری آن بر اصول محتوایی و معنوی خاصی تکیه دارند. پژوهش حاضر با هدف بیان جایگاه و اهمیت هنر کتیبه نگاری در معماری اسلامی و نمود آن در فضای نگاره های ایرانی تدوین یافته و به جهت کمیت بالای استفاده از کتیبه ها در نگاره های مکتب هرات و آثار بهزاد، به تبیین و تحلیل مصادیق مختلف آنها می پردازد. پرسش اصلی آن است که نمود کتیبه ها در بناهای مصور نگاره های این مکتب چه تأثیری در فهم داستان و معنویت خاص حاکم بر ساختار کلی اثر دارد؟ این کتیبه ها از سویی به لحاظ مضمون و اثرگذاری خود نیز با نمونه های به کار رفته در بناهای هم عصر ایران و هرات در دوره تیموری تطبیق داده می شوند. روش انجام پژوهش به شیوه تحلیلی، تطبیقی و تاریخی است و برای تجزیه و تحلیل نهایی اطلاعات بدست آمده از روش استقرای علمی استفاده شده است. مورد نیاز نیز از طریق مطالعات کتابخانه ای بدست آمده است. نتایج تحقیق نشان می دهند که تزیینات کتیبه ای موجود در فضای معماری نگاره ها علاوه بر بالا بردن زیبایی و ارزش بصری آنها بر انتقال مفاهیم داستان مصور شده تأثیرگذار هستند و بروز نوعی رئالیسم معنوی را در کارهای هنرمندان دوره تیموری به ویژه بهزاد نشان می دهند. تطابق این عناصر با تزیینات کتیبه ای بناهای هم عصر نیز بر انطباق و پیوند ساختاری و مضمونی آنها تأکید دارد و تأییدی بر ویژگی خاص واقع گرایی آثار بهزاد است که با درایتی تام از کتیبه های معماری به عنوان تزییناتی اصیل و مستند در جهت نقش آفرینی در هنری مستقل چون نگارگری بهره برده است.
2Arts in their Dialogues borrow some words from each other and give them a new meaning in their art form. One of the best examples of this Dialogue is the link of Decorative elements in architecture and Iranian painting .Iranian painting ( Miniature ) is conversation scene of arts such as painting, poetry, calligraphy and architecture which has run its evolutionary path in different schools of Islamic period, especially from the Ilkhani to early Safavid era. Iranian painting based on subjective and non-visible world and, therefore, its architectural and decorative elements are based on certain spiritual and conceptual principles. Inscription is one of the decorative arts in Islamic architecture which the use of it in addition to the actual architectural buildings is visible in some painted spaces of the Iranian painting. Inscriptions as conceptual and decorative elements in Islamic Architecture are important tools for the representation of religious ideas and policies. In this paper, On the one hand, the importance and different functions of inscription in Islamic architecture are analyzed and On the other hand, characteristics and artistic value of the paintings of Harat School, as well as the inscriptions on the architectural space of a number of Behzad&rsquo;s works are examined. Also it will be shown that appearance of painted inscriptions in the space of Iranian paintings has what impact on the understanding of the subject and Specific spirituality of the miniatures. Muslim artist inspired by his belief and religious principles has tried to create a calm and spiritual atmosphere in his paintings by use of Inscription decorations. He has designed physical space of the painted buildings by engrave the geometric designs, motifs and arabesques, and Islamic epigraph. The decorations in addition to having formal aesthetic and value represent the cultural and religious mysteries are hidden in themselves and give a special lightness and transparency to the painted background in the space of the painting. These inscriptions in terms of content and their impact are matched with the samples used in contemporary buildings in Iran and Harat, in Timurid period. A comparative study of the contents of the inscriptions is a new way in understanding of religious art and the impact of the religion to the epigraphy at different periods of the history of Islamic-Iranian art. Methods used in this research are analytical, interpretive, and historical and the approach to data has been done through library studying. The results of the research show that using of religious inscription in addition to enhancing the beauty and the visual value of Miniatures, are influencing to transfer of the concepts of the painted story, and show a kind of spiritual realism in the works of artists from the Timurid period, especially Behzad. These inscriptions, in shape and their structure, reflects spiritual realities and meanings that the Knowledge of them had been possible to a person during the present in that space by passing the formal universe to the divine world. These meanings reflected from the divine world, and manifest the concepts such as the presence of God, resurrection, release from Nether world and ascension into the celestial world, twinkle of divine light, transcendental unity, meditation and inner purification. These concepts are very close to prayer and ritual activities. Comparison of these elements with inscription decorations of their contemporary buildings also emphasis to the adaptation, and Structural and Conceptual link of them. These inscriptions, historically, and from the kind of font and text, and in their written contents, are match with inscriptions of buildings such as Goharshad mosque in Mashhad, Harat Mosque, Mosque of Yazd and Shiraz mosque belonging to Timurid period. A painter such as Behzad, in choosing the theme of his Nonreligious inscriptions, on one hand, is affected by the apparent form of the inscriptions and their expression in architecture monuments and, on the other hand, according to his artistic tastes and purposes used them. So that, he has been introducing the founder of visual work as a founder of architectural work or building in the number of his miniatures the outcome of the research shows that architectural inscriptions can be used as original decorations in order to create the Islamic atmosphere and image in today's miniature.
111128ربابفغفوریRobabFaghfooriحسنبلخاری قهیHasanBolkhari GhehiIslamic architectureArchitectural inscriptionsPersian PaintingHarat SchoolKamal al-Din Behzad.معماری اسلامیکتیبه های معمارینگارگری ایرانیمکتب هراتکمال الدین بهزاد## ##بررسی و شناخت ماهیت دیوارنگاره‌های بوم‌پارچه به عنوان شیوه‌ای خاص از آرایه‌های معماری اسلامی ایران An Investigation and Identify of Essence of Marouflaged canvasmural as a specific style of Islamic architectural decoration in Iran11مطالعه و بررسی دیوارنگاره‌ها به عنوان یکی از مهم‌ترین نمودهای هنر اسلامی، جدا از زمینه سازی درک بهتر مفاهیم فرهنگی به‌ویژه در بعد هنری، امکان شناخت بیشتر اصول حاکم بر معماری ایرانی- اسلامی و هنرهای وابسته به آن در ادوار گذشته را نیز فراهم می‌آورد.از این رو هدف از این بررسی، مطالعۀ گونه‌ای خاص از دیوارنگاره که در این نوشتار با عنوان دیوارنگارۀ ‌بوم‌پارچه معرفی شده است، در راستای شناخت ماهیت وطبقه بندی روش‌های اجرا و نوع مواد و مصالح، سیر تحول تاریخی با در نظر گرفتن فراز و رود این تکنیک، موضوع و ارتباط آن‌ها با یکدیگر می‌باشد. نادر بودن این نوع از آثار و به تبع آن، عدم شناخت کافی از تکنیک‌ها و ویژگی‌های آن منجر به کم‌رنگ شدن بخشی از تاریخ هنر ایرانی‌اسلامی گردیده و این موضوع بر اهمیت و ضرورت این بررسی در راستای بازشناخت این هنر، می‌افزاید. در این راستا آثار موجود از این هنر با شیوۀ نادر در ایران، در معماری دوره‌های ایلخانی، صفوی و قاجار به&shy;&shy; عنوان نمونه‌های موردی، بررسی شدند. همچنین،گزارش‌های مکتوب این نوع آثار در دوره‌های تیموری و زند (علاوه بر موارد ذکر شده) نیز، مورد مطالعه قرار گرفتند. جهت دست‌یابی به اهداف، از مطالعۀ کتابخانه‌ای، میدانی- ‌پیمایشی و روش توصیفی- تحلیلی استفاده شد. نتایج مطالعات و بررسی‌ها نشان‌دهندۀ این نکته است که قدیمی‌ترین دیوارنگارۀ بوم‌پارچه‌ای که در ایران باقی مانده مربوط به دورۀ ایلخانی است. بدلیل شرایط خاص سیاسی و اجتماعی، دورۀ صفویه دورۀ اوج استفاده از شیوۀ دیوارنگارۀ بوم‌پارچه بوده است که بسیاری از این نقاشی‌ها توسط هنرمندان اروپایی و در اروپا اجرا و به ایران منتقل شده است.نتایج بررسی میدانی ده بنای تاریخی، نشان دهنده‌ لایه‌های متعدد دیوارنگاره‌های بوم‌پارچه،که در واقع ترکیبی از لایه‌های اولیۀ دیوارنگاره و نقاشی روی کرباس هستند، بود. جهت ایجاد این آثار، از دو تکنیک رنگ و روغن، یا نقاشی با بست آبی استفاده شده است؛ که کرباس پس از آماده سازی و نقاشی بوسیله چسب با منشأ گیاهی یا حیوانی، میخ و یا تلفیق این دو، بر سطح دیوار چسبانده می‌شود.
2Murals are the main, media of human culture and civilization and the place and its long history in Iranian art is clear. There are specific forms of mural paintings in some Iranian architecture that are different from other usual wall paintings in materials, methods as well as implementation techniques. Unfortunately, these mural paintings are not studied certainly until now. Therefore, further investigation is needed due to the importance of this issue.
In the scientific literature, different definitions of this kind of murals which provided examples of them pointed out: Canvas murals, Oil-on-canvas mural, Marouflage wall painting,&nbsp; Marouflaged canvasmural, Oil painting on canvas onto walls, Marouflaged Canvas, Textile wall hangings, Canvas painting adhered to the wall surface, The painting had been adhered to the ceiling by Marouflage, Mural painting on canvas, Used a canvas set in to the wall, Oil on maroufle canvas for mural painting,&nbsp;Fabric-based murals, Ceiling canvases, Painting Hung on the wall, Wall Cover, Oil on Canvas attach on wall, Oil on Canvas mounted on wall.
In Europe during the 17th century there was a movement away from painting on solid supports towards more portable painting techniques, giving rise to the easel painting tradition. Particularly in France, traditional fresco painting techniques were replaced by mural painting techniques similar to those used in easel painting. This new mural painting technique involved the use of textile supports that the artist could work on in their studio instead of on high scaffolding in large public places1. Marouflage is the term often used to describe this mural painting process, which involves attaching a large-scale painting on canvas to a solid substrate. The solid substrate is often architectural, such as a wall or ceiling. The complete canvas murals were often hung by specialized mural hangers, not the artist themselves. Experienced hangers developed techniques with adhesive properties that were able to bond, two materials which have widely varying properties, such as degree of expansion and contraction, porosity, etc. Ideally a marouflage adhesive needs the following characteristics: a viscous paste that is easy to apply, a slow to medium setting time, high initial tack and bond strength. Using a thick paste prevents dripping and unwanted mess during application. A high initial tack prevents the mural from falling during installation and slower setting times allow substantial working time so that the large murals can be properly positioned.
Regarding to importance of necessity of art understanding before conservation, it is obvious that common conservation procedures on these relics (without appropriate understanding) have an inappropriate results on authenticity and integrity of the relics. Unfortunately, there is not adequate research about technology and conservation of these relics and related fields.&nbsp; The aim of this research is the identification of history of development, and used materials and techniques in these historic paintings by field and literature investigations. Technological understanding of this kind of murals during the time by application of literature review and data explanation. Due to low information in Persian, European Marouflaged canvasmural has been studied more than Iranian relics. The research subject and case studies are studied in a qualitative and descriptive research method and the subject is considered with ten historical and theoretical aspects. These paintings are executed on the layer of cloth (canvas) and then installed on the wall that is known as a part of the architecture arrays. This research at the first library study is conducted and then according to the results, the field studies are carried out and finally, the data are analyzed. Knowing the number of Marouflage according to literature review, the identification of constituent layers of Marouflage according to field studies, and Understanding the differences between a common wall Paintings and Textile Marouflage in Iran, are the results of this paper. In architectural conservation in Iran there is a perspective called Iranian-Islamic whose meaning is the influence of Islamic belief and thought upon tradition of conservation architectural works during Islamic era of Iran.
In this paper, the process of formation of this type of wall painting in Iran was studied and present examples of this method in Iranian architecture are introduced and explained. Some of the architectural interior surfaces are decorated by the textile painting by Marouflaged in Ilkhanid, Safavid and Quajarperiod; funerary monuments with polygonal plan have the most decorative surfaces such as Soltanieh Dome, Sheykh Safi mausoleum, Maryam church, Golestan palace and etc. According to studies, there was technical change in manufacturing process of large wall paintings and ceiling paintings at Renaissance period. It resulted to production of new kind of murals which known as Marouflaged canvasmural. The research obtained appropriate results about production, manufacturing, historical samples and effect of technological problems on conservation of Marouflaged canvasmural.
129145یاسرحمزویYaserHamzaviرسولوطن‌دوستRasoulVatandoustحسیناحمدیHosaynAhmadiMarouflaged canvasmuralarchitectural decorationIslamic periodwall paintingدیوارنگارۀبوم‌پارچهآرایه‌های معماریدورۀ اسلامینقاشی دیواری## ##